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"Ballet dance"

Mia Peric, Natasa Zenic, Damir Sekulic, Miran Kondric, Petra Zaletel
BACKGROUND: Substance use and misuse (SUM), eating disorders (ED) and consequent amenorrhea (AM) occur frequently in professional ballet dancing. The objective of this study has been to explore the prevalence and association between ED, AM and SUM in ballet. MATERIAL AND METHODS: The sample comprised 21 ballet dancers, 23.1±4.5 years old, members of the professional National Ballet Ensemble from Croatia. Variables were collected by questionnaires examining SUM, occurrence of amenorrhea, and corresponding ballet-specific and socio-demographic factors (Questionnaire on Substance Use - QSU) and the level of ED (Brief Eating Disorder in Athletes Questionnaire - BEDA-Q)...
2016: Medycyna Pracy
Prem N Ramkumar, Joseph Farber, Johnny Arnouk, Kevin E Varner, Patrick C Mcculloch
Ballet dancers are high-performance athletes who are particularly susceptible to a wide variety of musculoskeletal injuries. However, they are relatively understudied, and data on their injury rates are lacking. This retrospective study features the largest aggregate data on professional ballet dancers to date and aims to identify the most common diagnoses and areas of injury in this unique population to better direct preventative and clinical practices. The study encompassed a 10-year period from January 2000 to December 2010 of dancers from a single company...
March 2016: Journal of Dance Medicine & Science
Paula M Di Nota, Gabriella Levkov, Rachel Bar, Joseph F X DeSouza
The lateral occipitotemporal cortex (LOTC) is comprised of subregions selectively activated by images of human bodies (extrastriate body area, EBA), objects (lateral occipital complex, LO), and motion (MT+). However, their role in motor imagery and movement processing is unclear, as are the influences of learning and expertise on its recruitment. The purpose of our study was to examine putative changes in LOTC activation during action processing following motor learning of novel choreography in professional ballet dancers...
July 2016: Experimental Brain Research. Experimentelle Hirnforschung. Expérimentation Cérébrale
David Outevsky, Blake Cw Martin
OBJECTIVES: Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum...
December 2015: Medical Problems of Performing Artists
Lynnette Khoo-Summers, Nancy J Bloom
Dancers are at risk for developing groin pain that is due to acetabular labral tears. Although surgical management of labral tears has been reported extensively, conservative management has been poorly described. This case report describes the examination, diagnosis, and treatment of groin pain in a professional ballet dancer with a suspected acetabular labral tear. Treatment focused on decreasing anterior hip joint stresses and improving the precision of hip motion through correction of alignment and movement impairments noted during functional activities and dance...
August 2015: Manual Therapy
Janet Simon, Emily Hall, Carrie Docherty
Previous investigations have established that dancers suffer a large number of injuries to the lower leg, foot, and ankle, with a portion of these being significant time loss injuries or in some cases career ending. Lateral ankle sprain is a common injury in dancers and can often lead to recurrent instability and repetitive injuries. Research in other active populations has linked ankle sprains to the development of chronic ankle instability (CAI). Therefore, the purpose of this study was to identify the prevalence of CAI and related symptoms of ankle sprain in a student dance population...
2014: Journal of Dance Medicine & Science
Kathryn L Beck, Sarah Mitchell, Andrew Foskett, Cathryn A Conlon, Pamela R von Hurst
Ballet dancing is a multifaceted activity requiring muscular power, strength, endurance, flexibility, and agility; necessitating demanding training schedules. Furthermore dancers may be under aesthetic pressure to maintain a lean physique, and adolescent dancers require extra nutrients for growth and development. This cross-sectional study investigated the nutritional status of 47 female adolescent ballet dancers (13-18 years) living in Auckland, New Zealand. Participants who danced at least 1 hr per day 5 days per week completed a 4-day estimated food record, anthropometric measurements (Dual-energy X-ray Absorptiometry) and hematological analysis (iron and vitamin D)...
August 2015: International Journal of Sport Nutrition and Exercise Metabolism
Julia F Christensen, Sebastian B Gaigg, Antoni Gomila, Peter Oke, Beatriz Calvo-Merino
It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response...
2014: Frontiers in Human Neuroscience
S B Sanches, G M Oliveira, F L Osório, J A S Crippa, R Martín-Santos
The current literature has been discussing the risks and benefits of joint hypermobility (JHM) for careers in ballet This study aimed to evaluate the prevalence of JHM and joint hypermobility syndrome (JHS) in a group of ballet teachers and students, looking both at aspects related to the flexibility required to dance, as at the risk of injuries when hypermobility is associated with other symptoms, in the case of JHS. We evaluated ballet teachers and ballet students, with age ranging from 18 to 40 years. All participants completed identification and sociodemographic questionnaires and underwent a physical examination...
April 2015: Rheumatology International
D Zuker
The relationship of the physiotherapist to the athlete and dancer is twofold; he must be both teacher and healer. A teacher not only in exercise programmes, in the use of their tools of trade, their bodies and its bio-mechanics. A physiotherapist looking after ballet dancers must be a trained observer in movement and have an awareness of the movements that are required by a dancer.
June 1974: Australian Journal of Physiotherapy
Julia F Christensen, Marcos Nadal, Camilo José Cela-Conde
Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across--and even within--these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data...
2014: Perception
Corinne Jola, Marie-Hélène Grosbras
Enhanced motor corticospinal excitability (MCE) in passive action observation is thought to signify covert motor resonance with the actions seen. Actions performed by others are an important social stimulus and thus, motor resonance is prevalent during social interaction. However, most studies employ simple/short snippets of recorded movements devoid of any real-life social context, which has recently been criticized for lacking ecological validity. Here, we investigated whether the co-presence of the actor and the spectator has an impact on motor resonance by comparing novices' MCE for the finger (FDI) and the arm (ECR) with single-pulse transcranial magnetic stimulation when watching five-minute solos of ballet dance, Bharatanatyam (Indian dance) and an acting control condition either live or on video...
2013: Cognitive Neuroscience
Corinne Jola, Ali Abedian-Amiri, Annapoorna Kuppuswamy, Frank E Pollick, Marie-Hélène Grosbras
The human "mirror-system" is suggested to play a crucial role in action observation and execution, and is characterized by activity in the premotor and parietal cortices during the passive observation of movements. The previous motor experience of the observer has been shown to enhance the activity in this network. Yet visual experience could also have a determinant influence when watching more complex actions, as in dance performances. Here we tested the impact visual experience has on motor simulation when watching dance, by measuring changes in corticospinal excitability...
2012: PloS One
Gaele Ducher, S Kukuljan, B Hill, A P Garnham, C A Nowson, M G Kimlin, J Cook
Adequate vitamin D levels during growth are critical to ensuring optimal bone development. Vitamin D synthesis requires sun exposure; thus, athletes engaged in indoor activities such as ballet dancing may be at relatively high risk of vitamin D insufficiency. The objective of this study was to investigate the prevalence of low vitamin D levels in young male ballet dancers and its impact on musculoskeletal health. Eighteen male ballet dancers, aged 10 to 19 years and training for at least 6 hours per week, were recruited from the Australian Ballet School, Melbourne, Australia...
September 2011: Journal of Dance Medicine & Science
Derek Panchuk, Joan N Vickers
We determined the gaze and stepping behaviours of elite ballet dancers and controls as they walked normally and along progressively narrower 3-m lines (l0.0, 2.5 cm). The ballet dancers delayed the first step and then stepped more quickly through the approach area and onto the lines, which they exited more slowly than the controls, which stepped immediately but then slowed their gait to navigate the line, which they exited faster. Contrary to predictions, the ballet group did not step more precisely, perhaps due to the unique anatomical requirements of ballet dance and/or due to releasing the degrees of freedom under their feet as they fixated ahead more than the controls...
August 2011: Cognitive Processing
Akiko Imura, Yoichi Iino, Takeji Kojima
The fouetté turn in classical ballet dancing is a continuous turn with the whipping of the gesture leg and the arms and the bending and stretching of the supporting leg. The knowledge of the movement intensities of both legs for the turn would be favorable for the conditioning of the dancer's body. The purpose of this study was to estimate the intensities. The hypothesis of this study was that the intensities were higher in the supporting leg than in the gesture leg. The joint torques of both legs were determined in the turns performed by seven experienced female classical ballet dancers with inverse dynamics using three high-speed cine cameras and a force platform...
November 2010: Journal of Applied Biomechanics
Natasa Zenic, Mia Peric, Nada Grcic Zubcevic, Zdenko Ostojic, Ljerka Ostojic
There have been few studies comparing substance use and misuse (SU&M) in different performing arts forms. Herein, we identified and compared SU&M in women studying an art (ballet, n = 21), a non-Olympic sport (dance sport, n = 25), and an Olympic sport (synchronized swimming, n = 23). The sample of variables comprised general, educational, and sport factors, as well as SU&M data, including consumption of opiates, cigarettes, alcohol, nutritional supplements, doping behaviors, and beliefs. Using the Kruskal-Wallis test, we found no significant differences between study groups in potential doping behaviors...
June 2010: Medical Problems of Performing Artists
Jürgen Hänggi, Susan Koeneke, Ladina Bezzola, Lutz Jäncke
Evidence suggests that motor, sensory, and cognitive training modulates brain structures involved in a specific practice. Functional neuroimaging revealed key brain structures involved in dancing such as the putamen and the premotor cortex. Intensive ballet dance training was expected to modulate the structures of the sensorimotor network, for example, the putamen, premotor cortex, supplementary motor area (SMA), and the corticospinal tracts. We investigated gray (GM) and white matter (WM) volumes, fractional anisotropy (FA), and mean diffusivity (MD) using magnetic resonance-based morphometry and diffusion tensor imaging in 10 professional female ballet dancers compared with 10 nondancers...
August 2010: Human Brain Mapping
Jing Xian Li, Dong Qing Xu, Blaine Hoshizaki
This study examined the proprioception of the foot and ankle complex in regular ice hockey practitioners, runners, and ballet dancers. A total of 45 young people with different exercise habits formed four groups: the ice hockey, ballet dancing, running, and sedentary groups. Kinesthesia of the foot and ankle complex was measured in plantarflexion (PF), dorsiflexion (DF), inversion (IV), and eversion (EV) at 0.4 degrees /s using a custom-made device. The results showed the following: (1) significantly better perceived passive motion sense in PF/DF was found as compared with the measurements in IV/EV within each group (P < ...
2009: Research in Sports Medicine
Rebecca A Cerrato, Mark S Myerson
Peroneal tendon injuries in the athlete are recognized with increasing frequency as a pathologic entity. Once considered uncommon, they have been attributed to many cases of persistent lateral ankle symptoms after a "typical" ankle sprain. Acute tears of the peroneus brevis, and less commonly the peroneus longus, have been implicated in sport activities and are often coexistent with peroneal instability. Subluxation typically occurs when the foot is in a dorsiflexed position and the peroneal muscles strongly contract, causing an eversion force simultaneously...
June 2009: Foot and Ankle Clinics
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